Graduate Review of Tonal Theory: A Recasting of Common-Practice Harmony, Form, and Counterpoint

by Steven G. Laitz, Christopher Bartlette

Overview

Building on the same pedagogy that informed The Complete Musician, this Graduate Review of Tonal Theory is the first book to review music theory at a level that is sophisticated enough for beginning graduate students. Steven G. Laitz and Christopher Bartlette address students as colleagues, and thoroughly explore appealing and practical analytical applications. The text also provides a means to discuss the perception and cognition, the analysis and performance, and the composition and reception of common-practice tonal music. Marked by clarity and brevity, Graduate Review of Tonal Theory presents crucial concepts and procedures found in the majority of tonal pieces.

Distinctive Features

*Integrates two- to three-page "Analytical Extensions" at the end of each chapter, which introduce an additional topic through one or two works from the repertoire, and then develop the topic in a model analysis
*Synthesizes the essential concepts of music theory and pieces from the repertoire that expand upon and refine the analytical applications taught in the undergraduate theory curriculum
*Includes an in-text DVD with recordings by Eastman students and faculty of musical examples from the text and analytical exercises from the workbook

Also Available:
A workbook for students (978-0-19-537699-9) that can be packaged with the text at a significant savings! (Package ISBN: 978-0-19-538628-8). This invaluable resource is organized by chapter into discrete assignments (3-5 per chapter), each progressing from short, introductory analytical and writing exercises to more involved tasks. The workbook also includes an appendix of keyboard exercises.

Product Details

ISBN-13:	9780195376982
Publisher:	Oxford University Press
Publication date:	03/27/2009
Edition description:	New Edition
Pages:	288
Product dimensions:	8.10(w) x 10.00(h) x 0.90(d)

About the Author

Steven G. Laitz is Associate Professor of Music Theory and Affiliate Faculty Member in Chamber Music at the Eastman School of Music, and serves on the piano faculty at the Chautauqua Institution. He has received various teaching awards, has presented and published work on nineteenth-century music and pedagogy, and is the author of The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Second Edition (OUP, 2007).

Christopher Bartlette is Assistant Professor of Music at Binghamton University. His research in music cognition and performance has led to articles and presentations at national and international conferences in music theory, perception, and cognition.

Table of Contents

For the InstructorSetting the StageIntroductionSample analysesPART ONE: Contextualizing Theory and Analysis: FundamentalsChapter 1: Musical Time and SpaceThe metrical realmThe pitch realmChapter 2: Harnessing Musical Time and SpaceSpecies counterpointFirst-species (1:1) counterpointSecond-species (2;1) counterpointAdding voices: Triads and seventh chordsMusical textureChapter 3: Making Choices: When Harmony, Melody, and Rhythm MergeTonal hierarchy in musicTones of figurationMelodic fluencyPART TWO: Diatonic Harmony: Functions, Expansions, and the Phrase ModelChapter 4: Composition and Analysis: Using I, V, and V7Tonic and dominant as tonal pillars and introduction to voice leadingThe dominant seventh and chordal dissonanceAnalytical extension: The interaction of harmony, melody, meter, and rhythmChapter 5: Contrapuntal Expansions of Tonic and DominantContrapuntal expansions with first inversion triadsContrapuntal expansions with seventh chordsAnalytical extension: Invertible counterpointChapter 6: The Pre-Dominant, Phrase Model, and Additional EmbellishmentsThe pre-dominant functionIntroduction to the phrase modelAccented and chromatic dissonancesAnalytical extension: Revisiting the subdominantPART THREE: Elaborating the Phrase Model and Combining PhrasesChapter 7: Six-Four Chords, Non-Dominant Seventh Chords, and Refining the Phrase ModelSix-Four ChordsSummary of contrapuntal expansionsNon-dominant seventh chords:Embedding the phrase modelAnalytical extension: Expanding the pre-dominantChapter 8: The Submediant and Mediant HarmoniesSubmediant (vi in major; VI in minor)The step descent in the bassMediant (iii in major; III in minor)General summary of harmonic progressionAnalytical extension: The back-relating dominantChapter 9: The Period, Double Period, and SentenceThe periodThe double periodThe sentenceAnalytical extension: Modified periodsChapter 10: Harmonic Sequences: Concepts and PatternsComponents and types of sequencesSequences with diatonic seventh chordsWriting sequencesAnalytical extension: Melodic sequences and compound melodyPART FOUR: Chromaticism and Larger FormsChapter 11: Applied Chords and TonicizationApplied dominant chordsVoice leading for applied dominant chordsApplied leading-tone chordsExtended tonicizationAnalytical extension: Sequences with applied chordsChapter 12: Modulation and Binary FormModulationBinary formAnalytical extension: Binary form and Baroque dance suitesChapter 13: Expressive Chromaticism: Modal Mixture and Chromatic ModulationModal mixturePlagal motionsModal mixture, applied chords, and otherchromatic harmoniesExpansion of modal mixture harmonies: Chromatic modulationAnalytical extension: Modal mixture and text-music relationsChapter 14: The Neapolitan and Augmented Sixth ChordsThe Neapolitan chordThe augmented sixth chordAnalytical extension: Prolongation with bII and +6 chordsAugmented sixth chords as part of PD expansionsChapter 15: Ternary and Sonata FormsTernary formSonataAnalytical extension: Motivic expansionAppendix: Additional Formal ProceduresSubphrases and composite phrasesVariation techniquesTernary form and the nineteenth-century character pieceRondoFurther characteristics of sonata formGlossaryAbbreviations and SymbolsIndex